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#writing advice
introvert-unicorn · 16 days ago
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Words to describe facial expressions
Absent: preoccupied 
Agonized: as if in pain or tormented
Alluring: attractive, in the sense of arousing desire
Appealing: attractive, in the sense of encouraging goodwill and/or interest
Beatific: blissful
Black: angry or sad, or hostile
Bleak: hopeless
Blinking: surprise, or lack of concern
Blithe: carefree, lighthearted, or heedlessly indifferent
Brooding: anxious and gloomy
Bug eyed: frightened or surprised
Chagrined: humiliated or disappointed
Cheeky: cocky, insolent
Cheerless: sad
Choleric: hot-tempered, irate
Darkly: with depressed or malevolent feelings
Deadpan: expressionless, to conceal emotion or heighten humor
Despondent: depressed or discouraged
Doleful: sad or afflicted
Dour: stern or obstinate
Dreamy: distracted by daydreaming or fantasizing
Ecstatic: delighted or entranced
Faint: cowardly, weak, or barely perceptible
Fixed: concentrated or immobile
Gazing: staring intently
Glancing: staring briefly as if curious but evasive
Glazed: expressionless due to fatigue or confusion
Grim: fatalistic or pessimistic
Grave: serious, expressing emotion due to loss or sadness
Haunted: frightened, worried, or guilty
Hopeless: depressed by a lack of encouragement or optimism
Hostile: aggressively angry, intimidating, or resistant
Hunted: tense as if worried about pursuit
Jeering: insulting or mocking
Languid: lazy or weak
Leering: sexually suggestive
Mild: easygoing
Mischievous: annoyingly or maliciously playful
Pained: affected with discomfort or pain
Peering: with curiosity or suspicion
Peeved: annoyed
Pleading: seeking apology or assistance
Quizzical: questioning or confused
Radiant: bright, happy
Sanguine: bloodthirsty, confident
Sardonic: mocking
Sour: unpleasant
Sullen: resentful
Vacant: blank or stupid looking
Wan: pale, sickly
Wary: cautious or cunning
Wide eyed: frightened or surprised
Withering: devastating
Wrathful: indignant or vengeful
Wry: twisted or crooked to express cleverness or a dark or ironic feeling
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screnwriter · 15 days ago
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fuck a break up, have you ever gotten emotionally attached to a scene and then realized it doesn’t work so you have to remove it from your story
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gailywriting · a month ago
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A lit of people think that worldbuilding exists solely to make epic, sweeping fantasy worlds to quest across, but it can create smaller, softer, mundane worlds to inhabit too.
You can worldbuild a small village. You can worldbuild a bookshop. You can worldbuild a jail cell, or a wishing well, or a single-parent household.
Not every story wants a grand scope.
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iwhumpyou · 4 months ago
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One of the best tips for writing descriptions of pain is actually a snippet I remember from a story where a character is given a host of colored pencils and asked to draw an egg.
The character says that there’s no white pencil.  But you don’t need a white pencil to draw a white egg.  We already know the egg is white.  What we need to draw is the luminance of the yellow lamp and the reflection of the blue cloth and the shadows and the shading.
We know a broken bone hurts.  We know a knife wound hurts.  We know grief hurts.  Show us what else it does.
You don’t need to describe the character in pain.  You need to describe how the pain affects the character - how they’re unable to move, how they’re sweating, how they’re cold, how their muscles ache and their fingers tremble and their eyes prickle.
Draw around the egg.  Write around the pain.  And we will all be able to see the finished product.
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screnwriter · 4 days ago
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i just think that unhinged female characters with a little blood on their face and wrath in their eyes is pretty neat, that's all
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avelera · a month ago
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Pro-writing tip: if your story doesn't need a number, don't put a fucking number in it.
Nothing, I mean nothing, activates reader pedantry like a number.
I have seen it a thousand times in writing workshops. People just can't resist nitpicking a number. For example, "This scifi story takes place 200 years in the future and they have faster than light travel because it's plot convenient," will immediately drag every armchair scientist out of the woodwork to say why there's no way that technology would exist in only 200 years.
Dates, ages, math, spans of time, I don't know what it is but the second a specific number shows up, your reader is thinking, and they're thinking critically but it's about whether that information is correct. They are now doing the math and have gone off drawing conclusions and getting distracted from your story or worse, putting it down entirely because umm, that sword could not have existed in that Medieval year, or this character couldn't be this old because it means they were an infant when this other story event happened that they're supposed to know about, or these two events now overlap in the timeline, or... etc etc etc.
Unless you are 1000% certain that a specific number is adding to your narrative, and you know rock-solid, backwards and forwards that the information attached to that number is correct and consistent throughout the entire story, do yourself a favor, and don't bring that evil down upon your head.
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Writing advice #?: Have your characters wash the dishes while they talk.
This is one of my favorite tricks, picked up from E.M. Forester and filtered through my own domestic-homebody lens.  Forester says that you should never ever tell us how a character feels; instead, show us what those emotions are doing to a character’s posture and tone and expression.  This makes “I felt sadness” into “my shoulders hunched and I sighed heavily, staring at the ground as my eyes filled with tears.”  Those emotions-as-motions are called objective correlatives.  Honestly, fic writers have gotten the memo on objective correlatives, but sometimes struggle with how to use them.
Objective correlatives can quickly become a) repetitive or b) melodramatic.  On the repetitive end, long scenes of dialogue can quickly turn into “he sighed” and “she nodded” so many times that he starts to feel like a window fan and she like a bobblehead.  On the melodramatic end, a debate about where to eat dinner can start to feel like an episode of Jerry Springer because “he shrieked” while “she clenched her fists” and they both “ground their teeth.”  If you leave the objective correlatives out entirely, then you have what’s known as “floating” dialogue — we get the words themselves but no idea how they’re being said, and feel completely disconnected from the scene.  If you try to get meaning across by telling us the characters’ thoughts instead, this quickly drifts into purple prose.
Instead, have them wash the dishes while they talk.
To be clear: it doesn’t have to be dishes.  They could be folding laundry or sweeping the floor or cooking a meal or making a bed or changing a lightbulb.  The point is to engage your characters in some meaningless, everyday household task that does not directly relate to the subject of the conversation.
This trick gives you a whole wealth of objective correlatives.  If your character is angry, then the way they scrub a bowl will be very different from how they’ll be scrubbing while happy.  If your character is taking a moment to think, then they might splash suds around for a few seconds.  A character who is not that invested in the conversation will be looking at the sink not paying much attention.  A character moderately invested will be looking at the speaker while continuing to scrub a pot.  If the character is suddenly very invested in the conversation, you can convey this by having them set the pot down entirely and give their full attention to the speaker.
A demonstration:
1
“I’m leaving,” Anastasia said.
“What?”  Drizella continued dropping forks into the dishwasher.
2
“I’m leaving,” Anastasia said.
Drizella paused midway through slotting a fork into the dishwasher.  “What?”
3
“I’m leaving,” Anastasia said.
Drizella laughed, not looking up from where she was arranging forks in the dishwasher.  “What?”
4
“I’m leaving,” Anastasia said.
The forks slipped out of Drizella’s hand and clattered onto the floor of the dishwasher.  “What?”
5
“I’m leaving,” Anastasia said.
“What?”  Drizella shoved several forks into the dishwasher with unnecessary force, not seeming to notice when several bounced back out of the silverware rack.
See how cheaply and easily we can get across Drizella’s five different emotions about Anastasia leaving, all by telling the reader how she’s doing the dishes?  And all the while no heads were nodded, no teeth were clenched.
The reason I recommend having it be one of these boring domestic chores instead of, say, scaling a building or picking a lock, is that chores add a sense of realism and are low-stakes enough not to be distracting.  If you add a concurrent task that’s high-stakes, then potentially your readers are going to be so focused on the question of whether your characters will pick the lock in time that they don’t catch the dialogue.  But no one’s going to be on the edge of their seat wondering whether Drizella’s going to have enough clean forks for tomorrow.
And chores are a cheap-n-easy way to add a lot of realism to your story.  So much of the appeal of contemporary superhero stories comes from Spider-Man having to wash his costume in a Queens laundromat or Green Arrow cheating at darts, because those details are fun and interesting and make a story feel “real.”  Actually ask the question of what dishes or clothing or furniture your character owns and how often that stuff gets washed.  That’s how you avoid reality-breaking continuity errors like stating in Chapter 3 that all of your character’s worldly possessions fit in a single backpack and in Chapter 7 having your character find a pair of pants he forgot he owns.  You don’t have to tell the reader what dishes your character owns (please don’t; it’s already bad enough when Tolkien does it) but you should ideally know for yourself.
Anyway: objective correlatives are your friends.  They get emotion across, but for low-energy scenes can become repetitive and for high-energy scenes can become melodramatic.  The solution is to give your characters something relatively mundane to do while the conversation is going on, and domestic chores are not a bad starting place.
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screnwriter · 13 days ago
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intimate prompts for slow burn relationships
making eye-contact with your lover from across the room, gesturing for them to follow you outside
tracing a finger across your lover's scar
laying a hand on your lover's thigh
threatening your lover with a knife
leaning in for a kiss but pulling away last second
telling your lover ''you're so beautiful'' knowing that's all you can say
intertwining fingers with your lover, something unspoken in the glance you share
straddling your lover's thighs
your hand touches your lover's and it feels like your whole world is on fire, so you have to take it away
tying your lover's tie
saying ''i love you'' and not being believed at first, so you repeat yourself
agreeing to sleep in separate beds but ending up sneaking into each other's to snuggle
''i'm not in love with you.'' ''good.''
a friend has told your lover you're in love with them, you deny it when they ask you about it
not being able to look into your lover's eyes because it will send you down a spiral you won't get out of
scolding your lover for almost getting themselves killed, and your lover asks you why you care so much
your lover almost dies and that's when it clicks for you
not being able to let go when you have them in your arms
catching each other undressing and very obviously checking each other's bodies out
kissing your lover when they ask you why you've been avoiding them, not realizing it's because you're jealous that they've been hanging out with [a potential love interest]
bandaging each other up and sharing a tender moment
laying awake at night, wishing your lover was next to you
kissing your lover's forehead, torn apart knowing that's all you can do
looking deep into your lover's eyes, both of you lost in the moment
tracing your fingers down your lover's chest, stopping at their zipper, looking up at them for confirmation
flirting with your lover from across the room
solid eye-contact, then *gaze drops to lips*
grabbing each other's face and not being able to let go, or look away, leaning in to kiss just as you're being interrupted
letting your lover know you'll always be there for them, no matter what happens
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clairelutra · a month ago
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you know what’s a better question than “is this too self-indulgent?”? “is this self indulgent enough?”
because, like, damn, maybe there just aren’t enough kitty ears in this story! maybe there isn’t enough homoerotic tension! maybe that character’s backstory just isn’t tragic enough!! we won’t know until we really ask ourselves these questions.
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thatwritergirlsblog · 2 months ago
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Tips for Writing a Difficult Scene
Every writer inevitably gets to that scene that just doesn't want to work. It doesn't flow, no matter how hard you try. Well, here are some things to try to get out of that rut:
1. Change the weather
I know this doesn't sound like it'll make much of a difference, but trust me when I say it does.
Every single time I've tried this, it worked and the scene flowed magically.
2. Change the POV
If your book has multiple POV characters, it might be a good idea to switch the scene to another character's perspective.
9/10 times, this will make the scene flow better.
3. Start the scene earlier/later
Oftentimes, a scene just doesn't work because you're not starting in the right place.
Perhaps you're starting too late and giving too little context. Perhaps some description or character introspection is needed before you dive in.
Alternatively, you may be taking too long to get to the actual point of the scene. Would it help to dive straight into the action without much ado?
4. Write only the dialogue
If your scene involves dialogue, it can help immensely to write only the spoken words the first time round.
It's even better if you highlight different characters' speech in different colors.
Then, later on, you can go back and fill in the dialogue tags, description etc.
5. Fuck it and use a placeholder
If nothing works, it's time to move on.
Rather than perpetually getting stuck on that one scene, use a placeholder. Something like: [they escape somehow] or [big emotional talk].
And then continue with the draft.
This'll help you keep momentum and, maybe, make the scene easier to write later on once you have a better grasp on the plot and characters.
Trust me, I do this all the time.
It can take some practice to get past your Type A brain screaming at you, but it's worth it.
So, those are some things to try when a scene is being difficult. I hope that these tips help :)
Reblog if you found this post useful. Comment with your own tips. Follow me for similar content.
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screnwriter · 17 days ago
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ways for your characters to meet + writing prompts
meet cute
your card declines and the person behind you offers to pay
you're the maid of honor at your best friend's wedding, your soon-to-be-lover is the best man
the coffee shop/café is packed with people and no free seats, you ask a stranger if you can sit at their table
we're at a get-together with mutual friends and the only ones without a date
a stranger notices you can't reach the top of the shelf, but before they can offer their help, you've accidentally gone and ripped down the entire bookshelf
you fall asleep on a stranger's shoulder on a long flight. when you wake up, you tell them they're free to use your shoulder as a pillow, which they agree to
you jump into a cab in New York City, but right as the Taxi driver is about to drive off, someone else jumps in
a mutual friend sets you up on a blind-date
while waiting in line, you start a conversation with the person in front of you,
coincidentally, we're both at a hotel, leaving our room at the same time. turns out we both had a one-night stand and it was terrible
for some reason you can't seem to navigate the map, so you ask a stranger for directions. they inform you you're holding the map upside down
you see a stranger sitting alone at a restaurant, and decide to join them
you're at a resort, and in desperate need to get away from your family. you hide in a wardrobe down in the lobby, and while in there, you discover that a stranger is also hiding there
you jump into a car thinking it's your friend's, only to find a stranger sitting in the passenger seat
you're stranded on the highway, struggling to change a tire. a car pulls over to help you, offering to drive you back into town when they deem your car undriveable
the hotel double-booked your room, you can either share it or sleep in the lobby
meet ugly
bumping into your soon-to-be lover on the street, spilling coffee all over their shirt
your friend has been pranking you all day, scaring you when you least expect it. when you go to pick up some food, somebody jumps out from behind you. thinking it's your friend, you turn around and slap them, only to find it's not your friend
you're at the store, arguing with a stranger over who should get to buy the last watermelon (or any other grocery)
you almost hit your soon-to-be lover with your car as they cross the street
''you took my parking spot'' ''I WAS HERE FIRST'' ''I WAS STANDING HERE WHEN YOU PULLED OVER. I HAD MY BLINKERS ON''
you bump into someone's car in the parking lot and they retaliate by bumping yours
you walk into a dressing room thinking it's unoccupied, but instead finds a man without his shirt on
your ex cheated on you, so you decide to go over to their house to cause some mishap, only to later on discover that your ex recently moved
i've been waiting in line for ten minutes and you decide to cut in front of me and i'm not very happy
you're at the bar, having just paid for a drink, only for someone to slide up next to you and take a sip of it
i've mistaken your apartment for my friend's, and has been banging on your door for the past ten minutes. you've finally had enough and open the door, screaming at me to leave you alone. then i start screaming, because it was a mistake. a couple minutes later, your neighbor flings their door open, scolding both of us for making a scene
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friends to lovers never had a bad track. “scared i’ll ruin what we have” SLAPS. “friendship cuddles while secretly dying inside” BANGER. “teasing each other and holding eye contact for a little too long” KILLS ME. and don’t even get me STARTED on “screaming i love you in the middle of a heated argument.”
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introvert-unicorn · 3 months ago
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My favorite forms of affection
Holding hands.
Resting their heads over my shoulder.
Lying on their lap or chest.
Kisses on the forehead.
Playing with my hair.
When they give me that look of admiration.
Them making me laugh.
Giving compliments.
Putting their arms around me.
Making me feel heard and seen without even trying.
Random hugs when words aren't needed.
When they remember the things I am passionate about.
Buying me food.
Them checking on me constantly.
When they respect my boundaries.
When they talk to me about things that reminds them of me.
When they speak their truth.
When they say they love me.
When they lift me up, support me and make me feel valuable and capable when I least believe in it.
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perpetual-stories · 3 months ago
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Story Structures for your Next WIP
hello, hello. this post will be mostly for my notes. this is something I need in to be reminded of for my business, but it can also be very useful and beneficial for you guys as well.
everything in life has structure and storytelling is no different, so let’s dive right in :)
First off let’s just review what a story structure is :
a story is the backbone of the story, the skeleton if you will. It hold the entire story together.
the structure in which you choose your story will effectively determine how you create drama and depending on the structure you choose it should help you align your story and sequence it with the conflict, climax, and resolution.
1. Freytag's Pyramid
this first story structure i will be talking about was named after 19th century German novelist and playwright.
it is a five point structure that is based off classical Greek tragedies such as Sophocles, Aeschylus and Euripedes.
Freytag's Pyramid structure consists of:
Introduction: the status quo has been established and an inciting incident occurs.
Rise or rising action: the protagonist will search and try to achieve their goal, heightening the stakes,
Climax: the protagonist can no longer go back, the point of no return if you will.
Return or fall: after the climax of the story, tension builds and the story inevitably heads towards...
Catastrophe: the main character has reached their lowest point and their greatest fears have come into fruition.
this structure is used less and less nowadays in modern storytelling mainly due to readers lack of appetite for tragic narratives.
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2. The Hero's Journey
the hero's journey is a very well known and popular form of storytelling.
it is very popular in modern stories such as Star Wars, and movies in the MCU.
although the hero's journey was inspired by Joseph Campbell's concept, a Disney executive Christopher Vogler has created a simplified version:
The Ordinary World: The hero's everyday routine and life is established.
The Call of Adventure: the inciting incident.
Refusal of the Call: the hero / protagonist is hesitant or reluctant to take on the challenges.
Meeting the Mentor: the hero meets someone who will help them and prepare them for the dangers ahead.
Crossing the First Threshold: first steps out of the comfort zone are taken.
Tests, Allie, Enemies: new challenges occur, and maybe new friends or enemies.
Approach to the Inmost Cave: hero approaches goal.
The Ordeal: the hero faces their biggest challenge.
Reward (Seizing the Sword): the hero manages to get ahold of what they were after.
The Road Back: they realize that their goal was not the final hurdle, but may have actually caused a bigger problem than before.
Resurrection: a final challenge, testing them on everything they've learned.
Return with the Elixir: after succeeding they return to their old life.
the hero's journey can be applied to any genre of fiction.
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3. Three Act Structure:
this structure splits the story into the 'beginning, middle and end' but with in-depth components for each act.
Act 1: Setup:
exposition: the status quo or the ordinary life is established.
inciting incident: an event sets the whole story into motion.
plot point one: the main character decided to take on the challenge head on and she crosses the threshold and the story is now progressing forward.
Act 2: Confrontation:
rising action: the stakes are clearer and the hero has started to become familiar with the new world and begins to encounter enemies, allies and tests.
midpoint: an event that derails the protagonists mission.
plot point two: the hero is tested and fails, and begins to doubt themselves.
Act 3: Resolution:
pre-climax: the hero must chose between acting or failing.
climax: they fights against the antagonist or danger one last time, but will they succeed?
Denouement: loose ends are tied up and the reader discovers the consequences of the climax, and return to ordinary life.
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4. Dan Harmon's Story Circle
it surprised me to know the creator of Rick and Morty had their own variation of Campbell's hero's journey.
the benefit of Harmon's approach is that is focuses on the main character's arc.
it makes sense that he has such a successful structure, after all the show has multiple seasons, five or six seasons? i don't know not a fan of the show.
the character is in their comfort zone: also known as the status quo or ordinary life.
they want something: this is a longing and it can be brought forth by an inciting incident.
the character enters and unfamiliar situation: they must take action and do something new to pursue what they want.
adapt to it: of course there are challenges, there is struggle and begin to succeed.
they get what they want: often a false victory.
a heavy price is paid: a realization of what they wanted isn't what they needed.
back to the good old ways: they return to their familiar situation yet with a new truth.
having changed: was it for the better or worse?
i might actually make a operate post going more in depth about dan harmon's story circle.
5. Fichtean Curve:
the fichtean curve places the main character in a series of obstacles in order to achieve their goal.
this structure encourages writers to write a story packed with tension and mini-crises to keep the reader engaged.
The Rising Action
the story must start with an inciting indecent.
then a series of crisis arise.
there are often four crises.
2. The Climax:
3. Falling Action
this type of story telling structure goes very well with flash-back structured story as well as in theatre.
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6. Save the Cat Beat Sheet:
this is another variation of a three act structure created by screenwriter Blake Snyder, and is praised widely by champion storytellers.
Structure for Save the Cat is as follows: (the numbers in the brackets are for the number of pages required, assuming you're writing a 110 page screenplay)
Opening Image [1]: The first shot of the film. If you’re starting a novel, this would be an opening paragraph or scene that sucks readers into the world of your story.
Set-up [1-10]. Establishing the ‘ordinary world’ of your protagonist. What does he want? What is he missing out on?
Theme Stated [5]. During the setup, hint at what your story is really about — the truth that your protagonist will discover by the end.
Catalyst [12]. The inciting incident!
Debate [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are forced into action.
Break into Two [25]. The protagonist makes an active choice and the journey begins in earnest.
B Story [30]. A subplot kicks in. Often romantic in nature, the protagonist’s subplot should serve to highlight the theme.
The Promise of the Premise [30-55]. Often called the ‘fun and games’ stage, this is usually a highly entertaining section where the writer delivers the goods. If you promised an exciting detective story, we’d see the detective in action. If you promised a goofy story of people falling in love, let’s go on some charmingly awkward dates.
Midpoint [55]. A plot twist occurs that ups the stakes and makes the hero’s goal harder to achieve — or makes them focus on a new, more important goal.
Bad Guys Close In [55-75]. The tension ratchets up. The hero’s obstacles become greater, his plan falls apart, and he is on the back foot.
All is Lost [75]. The hero hits rock bottom. He loses everything he’s gained so far, and things are looking bleak. The hero is overpowered by the villain; a mentor dies; our lovebirds have an argument and break up.
Dark Night of the Soul [75-85-ish]. Having just lost everything, the hero shambles around the city in a minor-key musical montage before discovering some “new information” that reveals exactly what he needs to do if he wants to take another crack at success. (This new information is often delivered through the B-Story)
Break into Three [85]. Armed with this new information, our protagonist decides to try once more!
Finale [85-110]. The hero confronts the antagonist or whatever the source of the primary conflict is. The truth that eluded him at the start of the story (established in step three and accentuated by the B Story) is now clear, allowing him to resolve their story.
Final Image [110]. A final moment or scene that crystallizes how the character has changed. It’s a reflection, in some way, of the opening image.
(all information regarding the save the cat beat sheet was copy and pasted directly from reedsy!)
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7. Seven Point Story Structure:
this structure encourages writers to start with the at the end, with the resolution, and work their way back to the starting point.
this structure is about dramatic changes from beginning to end
The Hook. Draw readers in by explaining the protagonist’s current situation. Their state of being at the beginning of the novel should be in direct contrast to what it will be at the end of the novel.
Plot Point 1. Whether it’s a person, an idea, an inciting incident, or something else — there should be a "Call to Adventure" of sorts that sets the narrative and character development in motion.
Pinch Point 1. Things can’t be all sunshine and roses for your protagonist. Something should go wrong here that applies pressure to the main character, forcing them to step up and solve the problem.
Midpoint. A “Turning Point” wherein the main character changes from a passive force to an active force in the story. Whatever the narrative’s main conflict is, the protagonist decides to start meeting it head-on.
Pinch Point 2. The second pinch point involves another blow to the protagonist — things go even more awry than they did during the first pinch point. This might involve the passing of a mentor, the failure of a plan, the reveal of a traitor, etc.
Plot Point 2. After the calamity of Pinch Point 2, the protagonist learns that they’ve actually had the key to solving the conflict the whole time.
Resolution. The story’s primary conflict is resolved — and the character goes through the final bit of development necessary to transform them from who they were at the start of the novel.
(all information regarding the seven point story structure was copy and pasted directly from reedsy!)
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i decided to fit all of them in one post instead of making it a two part post.
i hope you all enjoy this post and feel free to comment or reblog which structure you use the most, or if you have your own you prefer to use! please share with me!
if you find this useful feel free to reblog on instagram and tag me at perpetualstories
Follow my tumblr and instagram for more writing and grammar tips and more!
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screnwriter · 28 days ago
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small details for fictional kisses
whispering ''kiss me'' to your lover
wrapping your arms around your lover's neck
kisses that travel from your lover's nose to their lips
breaking the kiss but instantly pressing your lips back together
intertwining your fingers
kisses that start out gentle but grows more passionate
forehead against forehead
running your fingers through your lover's hair
unbuttoning your lover's shirt, pressed against the wall
surprise kisses, in which your lover weren't prepared for it but responds immediately
a kiss in which, ''we're late for work but let's be later''
kisses shared under a waterfall
pulling your lover closer by the waistband
kissing under the stars
messy kisses, destroying furniture trying to reach the bed
a kiss that isn't meant to happen but it does anyway
sliding your hands down your lover's chest
grabbing your lover by the collar
''if we get caught kissing we're dead but let's risk it''
hand kisses
exploring each other's lips
smiling in-between kisses
now-or-never kisses
caressing your lover's cheek
good night kisses
''i was supposed to take a shower alone but sure, jump right in''
brushing your lips together, lingering for a moment
an accidental kiss between two exes
kisses in which, you've already said goodbye but can't help stealing another one
this might be our last kiss ever so let's make it last
kitchen counter make-outs
jumping into your lover's arms
soft kisses while cuddling in bed
i missed you kisses
a kiss that leave you breathless
stopping a kiss when it gets too heated
a kiss on the cheek turns into a kiss on the lips
trailing kisses from your lover's lips to their neck
''everything is going to be okay'' kisses
kisses that start of passionate but grows more delicate
pulling away from a kiss to look at each other, then smiling as you dive in for another kiss
wrapping your legs around your lover's body as they lift you
a goodbye kiss, but neither of you can quite let go
''we shouldn't do this'' but they do so, anyway
a swirling reunion kiss
''i've had a terrible day at work so just kiss me''
a kiss that lasts longer than it should
tending to your lover's wound, placing a kiss on top of their head, grateful they're still alive
spinning your lover into a kiss on the dance floor
kisses in which, i can't believe this is real, but i love you so much
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what people think writing is: worldbuilding, churning out entire chapters in one sitting, metaphors, character building, finishing novels, flawless plotlines
what writing actually is: random 1 am thoughts, zoning out into fictional worlds, associating songs with characters, writer’s block for six weeks at a time, coming up with plot twists at the most inconvenient times
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introvert-unicorn · a month ago
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A list of nice words we should use more to describe people
Adventurous : willing to undertake new and daring enterprises.
Affectionate : having or displaying warmth or fondness.
Ambitious : having a strong desire for success or achievement.
Amiable : diffusing warmth and friendliness.
Brave : not being afraid of danger.
Considerate : showing concern for the rights and feelings of others.
Courageous : able to face and deal with danger or fear without flinching.
Courteous : characterized by politeness and gracious good manners.
Diligent : characterized by care and perseverance in carrying out tasks.
Empathetic : showing ready comprehension of others' states.
Exuberant : unrestrained, especially with regard to feelings.
Gregarious : temperamentally seeking and enjoying the company of others.
Humble : marked by meekness or modesty; not arrogant or prideful.
Impartial : free from undue bias or preconceived opinions.
Intuitive : obtained through instinctive knowledge.
Inventive : marked by independence and creativity in thought or action.
Kind : behaving in a caring way towards people
Passionate : having or expressing strong emotions.
Philosophical : meeting trouble with level-headed detachment.
Practical : guided by experience and observation rather than theory.
Rational : having its source in or being guided by the intellect.
Reliable : worthy of trust.
Resourceful : adroit or imaginative.
Sensible : able to feel or perceive.
Sincere : open and genuine; not deceitful.
Sympathetic : expressing compassion or friendly fellow feelings.
Witty : demonstrating striking cleverness and humor.
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